Our J.P. wants to remind you about “Freaky Tales,” now showing in theatres. Here’s his review of the action comedy film, starring Pedro Pascal and Ben Mendelsohn.
Freaky Tales
Lionsgate
- Directed by Anna Boden, Ryan Fleck
- Written by Anna Boden, Ryan Fleck
- Produced by Anna Boden, Ryan Fleck, Jelani Johnson, Poppy Hanks
- Starring Pedro Pascal, Ben Mendelsohn, Jay Ellis, Normani, Dominique Thorne, Jack Champion, Ji-young Yoo, Angus Cloud
Studio Synopsis:
Set in 1987 Oakland, “Freaky Tales” is a multi-track mixtape of colorful characters—an NBA star, a corrupt cop, a female rap duo, teen punks, neo-Nazis, and a debt collector—on a collision course in a fever dream of showdowns and battles. Executive produced by hip-hop pioneer Too $hort and featuring an all-star ensemble cast, “Freaky Tales” is a pulpy blend of explosive action, edgy humor, and gory thrills that promises one wild ride.
J.P.’s Take:
With its VHS quality opening credits to its roundabout back streets storytelling, “Freaky Tales” doles out a good dose of San Francisco Bay Area pulp fiction.
For those of you, like myself, born and raised in the Bay Area (me particularly in Oakland, California), we know what an intriguing place The Bay is to be. This is the type of chronicle that caters to those who are a product of the 80s-era Bay. Not just because of it’s a huge melting pot, we are also the hotbed for all kinds of talents. Additionally, we’re the home of the “weirdo” culture, where youngsters embrace their off the wall styles and lingo. As Bay Area natives, we are unified when it comes to protecting our own.
Consider “Freaky Tales” to be a slightly trippy, self-referential, love letter to Oakland. What drives this excursion is the attention it pays to actual – if obscure – events that occurred in 1987, with a mythical twist towards the end that brings the story full circle. Within this letter are glimpses of a time where the punk rock scene was in full flight and West Coast hip-hop was punching its way through the airwaves.
Coming from the account of Berkeley native filmmaker Ryan Fleck, who wrote and directed the film, I was totally in for digging into the lore that lurks within Oakland’s streets back in the day, especially since I was a kid in ‘87 and not really understanding the buzz that surrounds words on the streets.
The title of the movie comes from Oakland rapper Too $hort’s chart topping album of the same name.
Fleck and co-writer/director Anna Boden set out to explore these historical events through four interrelated narratives set against authentic locations and actual historical occurrences in Oakland in 1987.
The first chapters introduces up to two young individuals, Tina (Ji-young Yoo) and Lucid (Jack Champion), who find themselves in the thick of a troubling scene as neo-Nazis punks drive by, targeting and harassing ethnic patrons coming out of the Grand Lake Theater. Their night takes a turn for the worse, when they head to a punk rock concert where the harassment escalates as the Nazis disrupt the event. In the midst of turmoil, a budding romance begins to bloom between Lucid and Tina, which set the stage for their fight for justice in the chapters to come.
The second chapter builds on the first and revisiting that same chaotic night at the theater, but this time revealing the specific targets of the racial slurs. Here, we meet two friends — rappers Entice a.k.a. Tamra Goins (Normani) and her cousin Barbie a.k.a. Bailey Brown (Dominique Thorne) — as we take a glance at their journey toward becoming influential figures as Danger Zone in their community. Additionally, we learn about a corrupt police chief they call “The Guy” (Ben Mendelsohn), who is a key player in the neo-Nazi narrative, while adding depth to the unfurling tale ahead.
The third chapter dives deep into the troubled life of Clint (Pedro Pascal), a debt collector on a mission in Oakland. He’s desperately searching for the answers about the tragic deaths of his wife and unborn child — who were killed while sitting in his car right in front of him.
In chapter four, the story takes a wild turn. Eric Agustus “Sleepy” Floyd (Jay Elllis) is on the verge of a record breaking game of the season with the Golden State Warriors, but the neo-Nazis have their own agenda for him. They’re plotting a major heist at Floyd’s home, but things quickly go awry. As news of their shady activities spreads through “The Town” (as Oakland is nicknamed), the situation becomes increasingly precarious for the racist faction.
The cast brings just the right amount of energy to elevate this indie project in the proper way:
- Ji-young Yoo and Jack Champion kick things off as the spirited young couple, Tina and Lucid, providing a consistent thread throughout the film.
- Pedro Pascal deserves a shout-out for his role as a weary debt collector seeking vengeance for his family’s tragic loss.
- Ben Mendelsohn nails the skeezy vibe as “The Guy,” while Fifth Harmony’s Normani and Dominique Thorne infuse the film with their vibrant confidence.
- Jay Ellis delivers a fun, slightly off kilter take on Sleepy Floyd, sprinkled with some Bruce Leeroy flair.
- Actor / singer Keir Gilchrist as Josh and singer Marteen Estevez as Kohlrabi round out the ensemble and help contribute to the film’s overall charm.
- Angus Cloud, though in a smaller role as Travis, still manages to connect the dots effectively.
- It’s a treat to see Bay Area native Tom Hanks make a humble cameo as Hank, the video store owner, adding a touch of home to the moment.
- Oakland born and former NFL star Marshawn Lynch pops up briefly as the bus driver of the magic AC transit bus, which plays a role in how the story transpires.
- Too $hort, who also executive produced the film and is the narrator, makes a quick appearance as the officer and partner alongside “The Guy.”
“Freaky Tales” unfolds like some odd fever dream, filled with green glowing clouds and lightning that hints at some kind of magic in the air. This is the catalyst for the unfolding events, creating a unique vibey atmosphere reminiscent of films like “Big Trouble in Little China” or “The Last Dragon,” especially with its “Kill Bill”-styled finale. It somewhat feels like a throwback to a movie that could have been made 38 years ago, as it captures that nostalgic feel while still being fresh.
“Freaky Tales” aims to showcase the stories of indigenous Oaklanders, which are often overshadowed by narratives of other major cities like L.A., San Francisco, or New York. It’s a moment to bring our unique flavor to the forefront of the big screen and ensuring they don’t get lost in the shuffle. By doing so, the feature not only honors our heritage but also introduces a wider audience to a rich culture and experiences that define us.
I had fun with “Freaky Tales” as a whole.
Official Site: Freaky Tales